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It always helps a potential Academy Award nominee if they feature in a second (or even third) project alongside the one they are hoping to be nominated for. At worst, it helps get their faces out there a bit more and gets a few more Oscar voters to notice them. At best, it helps them garner more votes from the various colleagues they’ve worked with over the two or three projects. It also serves as a timely reminder of their talent, skills, and range.

Pete Davidson is back and looking well on Saturday Night Live! On Jan. 19, the show made its return, and Pete addressed his alarming suicidal Instagram post from December, in which he wrote, "I really don't want to be on this earth anymore." During the Weekend Update segment, John Mulaney joined Pete, Colin Jost, and Michael Che at the desk to share their thoughts on Clint Eastwood's film The Mule. But before they delved into their hilarious review of the movie, John shared a few words of wisdom with Pete, emphasizing that it's possible to have a calm and sober life in comedy. That's when Pete replied with a Very direct approach to addressing his suicide scare. Watch the clip above to hear his response and John's words of encouragement!

It wasn’t entirely surprising that Pete Davidson was on last night’s episode of “Saturday Night Live,” even after posting disturbing messages suggesting he was suicidal last month, but it was surprising to see him flanked by former “SNL” writer John Mulaney. The two appeared as a duo on “Weekend Update,” where Davidson is a regular, to discuss everything from their shared appreciation of Clint Eastwood’s “The Mule” to the fact that Davidson is doing much better now. According to Vanity Fair, Mulaney joining the segment was no coincidence — he’s struggled with his own substance-abuse issues in the past.

“I didn’t realize you guys hung out together,” Colin Jost said after Mulaney showed up. “Yeah, we do, but a lot of times it looks like I’m Pete’s lawyer,” the comedian replied. “But for real, I’ve been spending time with Pete to try to

Pete Davidson once again sat down for a Weekend Update segment on “Saturday Night Live” over the weekend, and the acerbic comic brought out fellow comedian (and former “SNL” writer) John Mulaney to talk about the new Clint Eastwood movie “The Mule”. Before they pair could get to their analysis of the drug-running drama, however, Davidson once again plumbed the depths

Rachel Brosnahan hosted the first Saturday Night Live of 2019, but the show didn’t do much to highlight her comedic skills. Some hosts serve as the centerpiece of the proceedings. Others blend into the ensemble cast, making it seem as if they have always been there. But Brosnahan (through no fault of her own) didn’t get a chance to make much of an impression at all. Structurally, the show gave her minimal screen time: A long cold open, an extended “Weekend Update,” and a pre-taped segment all were minus

The actress proved herself a fine host, though she was never given the flashy showcase that she deserved. She was even relegated to a supporting role in a sketch that spoofed her critically acclaimed Amazon comedy.

An underwhelming song-and-dance monologue was followed by a run of mostly mediocre skits, though there were a few highlights. What follows are my picks for the best and worst sketches.

This was the first time Davidson has publicly addressed his disturbing Dec. 15 social media post, which read as a possible suicide note and raised the alarm about the young comedian’s mental state. (He only made a brief cameo on the last SNL of 2018 later that day.)

Davidson was introduced by Weekend Update co-host Colin Jost as being “here to talk about a very important experience he had over the holidays”, adding how happy everyone is to have Davidson back.

“As you know, I had a really crazy month and I want to talk about something that matters a lot,” Davidson said.

At the top of the feature, though, Mulaney explained that he and Davidson had been spending a lot of time together so that he could show Davidson that "you can have a life in comedy that’s not insane, a sober domestic life." To which Davidson quipped, "And after observing John's life, I publicly threatened suicide," referencing a ...

After opening a month ago to a $17.5 million launch, Warner Bros.’ “The Mule” has amassed a domestic total of $101.4 million against a budget of $50 million.

As a director, Eastwood has had several major hits this decade, the biggest being 2014’s highest grossing domestic release, “American Sniper.” He also found success with Tom Hanks on the biopic “Sully” in 2016. But he’s had some missteps too, namely “The 15:17 to Paris,” which only made $57 million worldwide against a $30 million production budget before marketing.

Also Read: 'Dr Seuss' The Grinch' Surpasses $500 Million at Worldwide Box Office

But “The Mule” is a different movie, because Eastwood is both in front of and behind the camera. It’s

The new film is officially the fourth version, but it’s sort of the fifth. In 1932, Rko made “What Price Hollywood?” about an L.A. waitress who becomes a movie star while her alcoholic mentor declines. In the July 19, 1932, review, Variety shrugged, “It’s a fan magazine interpretation of Hollywood.” Five years later, Selznick Intl. Pictures’ “A Star Is Born” had so many similarities that Rko considered suing.

Each version added an innovation: Technicolor in 1937, musical numbers for the 1954 Judy Garland film,

On the morning when the Oscar nominations were announced in 1987, I got a call from David Lynch who said he was astounded that he’d been nominated for directing “Blue Velvet” and equally astounded that I had predicted his nomination in the Los Angeles Times the day before.

“How did you know?” he asked.

The answer, of course, is that I didn’t know. I’d just played an educated hunch. Though he hadn’t been nominated by the DGA, it figured that despite its graphic, inscrutable content, “Blue Velvet’s” daring originality would set well with his peers in the academy.

The academy’s relatively small directors’ branch, unlike the broader-based Directors Guild, had a history of finding room on its ballot for work outside the mainstream that its members appreciated.

Last weekend, Kevin Hart and Bryan Cranston pulled a surprise upset and dethroned Aquaman for the top spot at the box office with The Upside. But that movie's time on top will be very short-lived, as M. Night Shyamalan's highly-anticipated Glass makes its way to theaters, and it looks to have a near-record during the Martin Luther King Jr. Day extended holiday weekend.

Glass, which serves as a sequel to both 2000's Unbreakable and 2017's Split, comes with a lot of star power in the form of Samuel L. Jackson, Bruce Willis, James McAvoy, Sarah Paulson and Anya Taylor-Joy. It also is a sequel many have been waiting years to see. Unfortunately, critics, thus far, have not been terribly kind to M. Night Shyamalan's latest, with the movie currently boasting a 35 percent approval rating on Rotten Tomatoes. Despite that, Glass looks to bring in as much as $70 million over the four-day weekend.

Having starred on Aaron Sorkin’s “The West Wing” for seven seasons, Bradley Whitford is certainly no stranger to political television. Now he’s in two more such series: Nat Geo’s exploration of the dot-com era, “Valley of the Boom” in which he plays real-life Netscape CEO James Barksdale, as well as Hulu’s “The Handmaid’s Tale,” in which he plays Commander Lawrence, who helped build Gilead’s economy. He will also guest star in an episode of Pop TV’s meta limited series “Flack.”

What did it take to get you in the mindset to play complex men like Barksdale and Lawrence?

I am absolutely convinced the best acting feels not like school but like recess. And that’s kind of how I judge actors I’m [working] with because some are executing an assignment and some are having a blast. That’s where the really fun stuff happens.

M. Night Shyamalan's Glass looks to do near-record business at the box office over the long Martin Luther King Jr. weekend.

Tracking shows the film debuting in the $60 million-$70 million range domestically, the best start for the holiday frame behind Clint Eastwood's 2015 film American Sniper ($107.2 million), not adjusted for inflation. The buddy-cop comedy Ride Along turned in the next-biggest holiday gross with a four-day bow of $48.6 million in 2014.

This week, Timothée Chalamet chucks crystal meth for easy awards bait. Next week, Clint Eastwood smuggles coke for dodgy social commentary. When will the movies stop their substance abuse?

Films are doing drugs again. The appeal is irresistible – the pure hit of human drama that comes with the needle or the rolled-up banknote. Now, a pair of new movies find two actors at opposite ends of their careers deep in the mire. In one, Beautiful Boy, modish male lead Timothée Chalamet plays Nic Sheff, a young addict lost to methamphetamine as his father David (Steve Carell) helplessly looks on. While in The Mule, Clint Eastwood directs himself as Earl Stone, a 90-year-old horticulturalist recruited by a Mexican cartel to ferry cocaine around America. Both are based on real life, in the case of the Sheffs via parallel memoirs.

Related: Steve Carell and Timothée Chalamet on drugs, disillusionment and playing father and son

As this weekend’s lone wide release, “Glass” looks to be the de facto choice for moviegoers during the Martin Luther King Jr. holiday. Now the only question is: how big of an opening can “Glass” pull off?

Mediocre reviews don’t seem to be holding back anticipation for the sequel to both “Unbreakable” and “Split” as “Glass” is expected to make between $60 million and $75 million during its first four days of release. Universal, the studio releasing the film in North America, is more modestly suggesting a $50 million to $55 million debut from over 3,700 theaters. Even so, that would still be a lot of coinage for a movie that only cost $20 million to produce. Shyamalan took the unusual step of self-financing “Glass,” which means more riches for M. Night if “Glass” becomes a hit. Since

Pawel Pawlikowski already made history for Poland by winning the nation its first Oscar for Best Foreign Language Film for “Ida” (2014). Could he make history again this year by becoming only the third Polish filmmaker to be nominated for Best Director — and the first for a Polish-language film? He’s a dark horse contender for “Cold War,” a period romance about star-crossed lovers that was inspired by Pawlikowski’s own parents.

The best known Polish director to make the cut at the Oscars was Roman Polanski, who was nominated three times, for “Chinatown” (1974), “Tess” (1980) and “The Pianist” (2002), all of them in the English language. He ended up winning the Oscar for “The Pianist,” but his artistic legacy has been marred by his personal legacy. He pleaded guilty to statutory rape in 1977, and he has been living abroad as a fugitive since 1978.

Mixing ripped-from-the-homepage headlines with thriller elements, the story centers on a Mexican mother and son who are the sole survivors after cartel drug traffickers kill her husband and family. The pair undertake an arduous journey to America and safety, fleeing the cartel while also enduring ...

In its third week of release, the Aquaman juggernaut was felled by upstart The Upside, which bested it by approximately $2.3 million over the weekend. The Upside debuted on top of the weekend box office with $19.6 million. Meanwhile, Aquaman added another $17.3 million to lift its four-week tally to $287.9 million. Despite losing the top spot on the domestic box office, Aquaman did manage to exceed $1 billion in global returns so there probably isn’t too much crying over at the headquarters of the DC Extended Universe.

Another new film this week, the family-friendly A Dog’s Way Home debuted in third place with a weekend haul of $11.3 million. The animated Sony/Marvel film Spider-Man: Into the Spider-Verse held firm in the fourth spot adding $9 million to lift its five-week total to $147.8 million. The horror film Escape Room dropped from second place to fifth this week as it brought in just $8.9 million compared

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